Catalog: Archives: Regional Art: Asian (588)

Hotei bows deeply, showing an unusual moment of respect from the surly sage. An unusual bronze image by Oshima Joun enclosed in the signed wooden box. The face is at once relaxed and respectful, one hand wrapped around a gnarled walking stick supporting the heavy bag on his back. All facets are rounded, with a soft, tight orange-peel surface typical of Tokyo school bronzes. The image is roughly 5 inches (12.5 cm) in all directions, and in excellent condition. Oshima Joun was professor at the Tokyo Art School from 1887 to 1932. His works were selected to represent Japan at the World Exposition in Paris (1900). There is a dearth of information available, specifically, for more on this artist see Victor Harris, Japanese Imperial Craftsmen, Meiji Art from the Khalili Collection (London, 1994) and or Arts of the East and West from World Expositions (2004).

A bronze Tanuki dressed in robes and holding a Nyoi (priest scepter) sits yelping into the air, as if surprised at being discovered for his true nature. Dating from the Meiji or possibly Taisho period, it is 10 x 8 x 9-1/2 inches (25 x 21 x 23 cm) and on the base has written in red “4th year” followed by a series of letters to which I have yet to discern a meaning. Likely Meiji 4 (1871).

Heavy pigment forms a spectral scene of a dark stone lantern viewed through the spring laden branches of maples, a dove taking flight in the fore. Anyone who has visited Japan will know the haunting sense these monoliths produce. The painting is performed in thick pigment on applied silver-leaf, signed Taisho (Okada Taisho, b. 1888). The screen is signed in the lower right corner, and measures150 x 151 cm (59 inches by 5 feet). It is in fine condition, with only minor abrasions from handling.
Taisho was a Kyoto artist trained under Yamamoto Shunkyo. He was displayed at the Bunten National Exhibition. He was well travelled, Living in Europe for three years, and travelled very unusual places for his time such as India, Siberia, and South America as well as the South Pacific.

A water-worn bowl of natural wood lacquered inside with black and gilded, leaving black lacquer on the rim, to create a startling contrast between the mirror like black, shining gold and ancient weathered wood. It is enclosed in a period wooden box titled Jidai Kihachi Sunabachi (antique Wooden Sunabachi Bowl). It measures 34.5 x 30 x 11 cm (14 x 12 x 4 inches). There are two hairline cracks in the gold (see photos).

A set of scholars desk items, including a Chinese Qing dynasty crystal brush rest in the form of two mountains, Chinese crystal stamp carved with four characters between dragons, and an unusual obelisk written with the Nichiren Buddhist epitaph Na-mu Myoho-ren-ge-kyo in radical script over textured surface, glass or crystal. We have been unable to find a single inclusion in the obelisk, making it either a perfect crystal, suiting a religious object, or glass. The stamp is four immaculately cut characters between two scrollwork dragons (I am not versed in Chinese, but the Japanese reading seems to be Min Zan Chu In). The obelisk is 3 inches tall, the stamp 1-3/4 inches (4 cm) tall and the brush rest roughly 2-1/2 inches (6 cm) long. All pieces are in perfect condition.

Steam coils about the petit young woman at the public bath, a fine Taisho era painting signed Ikuho. The color blends into the silk, leaving a soft edge enhancing the sense she is being viewed through the steam and heat of the bath. Pigment on silk, mounted later in green patterned cloth extended with grey and featuring wooden rollers. As pictures of nudes were forbidden, Ikuho is likely a pen-name, possibly taken from Ikuho Street in Northern Kyoto city where the artist may have resided. The scroll is 19 x 78-1/2 inches (47.5 x 199 cm) and is in fine condition but for a faint water stain in the upper right corner and some minor marks.

A pimpled toad looks to the sky exhaling a clouded spirit, a truly superb version of this theme in deep caramel bronze dating from the Meiji period. It is an interesting theme, the ugly creature elevated to the status of saint. Judging by color and quality, we attribute this as the work of Kanaya Gorosaburo (1836-1890), a bronze artist of Kyoto fond of this color and known for his superb modeling and detail. Not always signed, Gorosabutro was often known to sign only the box. This piece is unsigned. It is 7-1/4 inches (18 cm) tall, with the basin 5 inches (12.5 cm) diameter.

A small round gourd: polished, cut and decorated inside with delicate fronds in gold on black maki-e. This is superb. It is 3 inches diameter (7.5 cm) and in perfect condition, enclosed in a quality old kiri-wood box. .

A very unusual hammer textured lotus shaped tray featuring an insect crawling down the side enclosed in a wooden box titled Textured Leaf Shape Fruit Dish and signed Tekisui Zo (made by Tekisui). The brass basin is supported by a withering round stem convoluting beneath. A bright portion of brass hammered out with holes show the leaf slowly deteriorating, returning to earth. The insect is like a red flying-beetle or lady-bug, very detailed. The dish is roughly 6 by 7 inches (15 x 17.5 cm) and stands about 1-1/2 inches (4 cm) tall, dating from the later 19th to early 20th century. The style is akin to many types of receptacles used in the service of Chinese tea, which was massively popular from the beginning of the 19th century. It appears the insect, which is held in place with a rivet, has come loose and been re-attached at some point, with file marks left from the work visible underneath. .

A silver rabbit and large solid bronze figure of the young god O-kuninushi no Mikado by Oshima Joun on a black lacquered stand enclosed in the original signed and red lacquered wooden box with separate compartments for the table and figure. Here we see O-kuninushi seated beside his bundle of belongings, hand extended in benevolence to the meek creature. The box is titled O-kuninushi Go-Zo, Go Okimono, Tobu Oshimia Joun Sakku followed by a ka-o signature. Inside is written the characters SoNeKo(Shi)ShakuDen(Tono). The inscription infers some Imperial event at which this was given (The character Shaku is the same as the UjinoShaku Imperial visit held after New years when commoners who have excelled in the previous year are granted an audience with the Emperor). There are two patches of fresh lacquer inside the lid, indicating a name and possible date of the recipient have been erased. The bronze figure is 8-1/2 inches (22 cm) tall and weighs 4.5 kg (9-1/2 lbs). The rabbit is solid silver, 28 grams. Both are in fine condition.
I believe the story tells of a young god Onamuji (who would become O-kuninushi) and eight of his fellows who left Izumo seeking the hand of princess Yakami of Inaba. He being the youngest and kindest of the group, was left to carry the baggage. As the men reached the coast, they found a rabbit stripped of fur and bleeding. So as a prank they told him to wash in the sea and dry himself in the sun. Of course this caused the rabbit much pain, until Onamuji arrived (delayed with the heavy bags), and told the hare to wash himself in the clean rivers of the stream and roll in the billowing seeds of the cat-tails. The rabbit quickly recovered, and made a prediction to the lad that indeed Yakami would fall in love with him above all others despite his appearing as a servant.
Oddly the story does not end there, and one must pity the princess, for the other men kill Onamuji (several times and he is several times revived) and he is forced to flee to the underworld, where he falls in love with King Susano’s daughter and elopes with her. The grand Shrine at Izumo, one of the oldest and most important in Japan, is dedicated to Okuninushi, and he is believed to be the builder of nations.

A quintessential Taisho style painting of a boy in a mystical forest of flowers, pigment on silk by Hoson Reisui (b. 1897). The ethereal image seems not so much to be drawn on the silk, but to eminate from it. The boy too seems as if a sprite living in some fantastical reality. There is a minor water streak opposing on the bottom outside of both panels (near the signature) and some loss to the white gofun petals. Each panel is 34 x 59 inches (86.5 x 149.5 cm) and is in overall fine condition. Reisui studied in Tokyo under Hashimoto Seisui, placing him in the lineage of Gaho and Taikan. He later changed his name to Hoson Ryosaku.

A horrifying image of a ghostly apparition accompanied by a Buddhist verse engraved into this long bamboo incense container by Ishii Matetsu. It is expertly crafted. The verse reads:
Katsu!
Dokusei Dokushi Dokko Dokurai
The literal translation sounds quite cold, but in Buddhist teaching it means: We enter the world alone; we depart it alone. Do not depend upon others for your happiness, rely upon yourself and live your life in your way to the fullest. It is 48 cm (19 inches) long and in excellent condition.

A dilapidated shrine nestles deep in a forested mountain side with a cluster of stone Jizo and a fudomyo climbing the green hillside behind signed Koho and dating to the late Meiji. A quiet and contemplative scene reflecting the quality of the art of the time, the subject not overstated but resting silently awaiting our discovery. The scene is quite personal, inviting the viewer into its depths for a moment of silence where only the falling of the pine needles and call of a distant bird may disturb ones thoughts. Water falls into a misty vale in the upper right while trees cling tenuously to the shrub covered crags. The thatch covered wooden structure is decorated with various Ema votive placks and a strand of rain washed paper over the door. It is likely the work of Mizuno Koho (b. 1846), a Kyoto artist (Shijo School) active through the early Taisho period. ‚dEach panel measures 37 x 69 inches (93.5 x 175 cm) nd we have had the screen re-backed with sturdy green cloth. Due to regulations enacted last year permission for export must be applied for (a formality) and usually requires about 15 days before shipping.

A young girl reaches up to steady herself on a branch laden with plum buds, not yet ready to open, as she presses down on the ice with her bright red shoes. This is an absolutely darling image by Chishima Kayo, which came to us as a silk makuri (never having been mounted) painting, which our restorer placed in this natural field allowing the painting to show itself.
Chishima Kayo (b. 1890) was a female artist of the Meiji to early Showa periods. She was born in Saitama and studied initially under Kawai Gyokudo then Kaburagi Kiyokata. She consistently exhibited with the Kyodo-kai (Kiyokata’s Salon exhibition) from 1916 as well as the Teiten National Exhibition from 1927, a rarity for a female artist. Nothing is known of her life post-war.

white lines defining this tea bowl defy the superlative rendition of a bird snapping up an insect from a hibiscus by Ogata Gekko within. The bowl is 4-1/2 inches (11.5 cm) diameter, 3 inches (7.5 cm) tall and in fine condition. It comes wrapped in a silk bag and enclosed in a superb kiri-wood box.
Ogata Gekko (1859-1920) of Edo (now Tokyo) was born the son of merchant Nakagami Seijiro and was heir to a small fortune. As is often the case with such stories, he was orphaned at a young age, and the family fortune was lost to him. Painting lanterns and designing rickshaws, he was discovered by Kawanabe Kyosai, and introduced to the Ogata family, where he was adopted. Initially he worked as a graphic and industrial designer for Newspapers, magazines and commercial enterprises, never attending art school, and was most unique in that respect. He worked as a war correspondent in the Sino Japanese war (1895) and this would come out in his woodblocks. He was a lifelong friend of Fenellosa and Tenshin, and his work was lauded abroad at such important events as 1893 Chicago Expo,1900 Paris Expo, and gold-prize at the 1904 Worlds Fair in St. Louis as well as London in 1910. F course his international acclaim was mirrored at home with prizes at the Kyoshinkai (1893 and 1894) 1896 Japanese Art Association and was acquired by the Meiji Emperor in 1898. His unschooled approach to printmaking however may be his greatest gift to Japan and the world, and he can be credited with founding the ideas and printing techniques of the 20th century Sosaku Hanga genre. There is a plethora of information available on this artist and his work is held in many great institutions including the British Museum and the Museum of Fine Arts Boston. Thanks to Rob Turley for his in depth research into this artist.

Like an aged boxer, the squat muscular crab takes a stance of readiness, one claw up prepared to defend against a coming attacker. This little fellow is unusual in that it is made of thick bronze, with each joint pinned in a way that allows for some mobility. Legs splayed the creature is 9 inches (23 cm) wide, standing it is 3-1/2 inches 89 cm) tall. There is a repair to the first joint of the 2nd left leg. It dates from the first part of the 20th century.

A scholar withers away an afternoon reading in a small cottage lost in a forest of Soft green willow; a brilliant Taisho style scroll by Hirai Baisen (1889-1969). The color of the willows intimates early summer, the leaves fresh and new, a darker haze beyond forms mountains, separating the scene from the rest of time. A quintessential effort typifying the literati ideal of life in seclusion. The entire scene has been brushed as if to insinuate a light shower, rain on a sunny day. The painting is bordered in green brocade and features bone rollers, and comes enclosed in a period wooden box. The scroll measures 21-1/2 by 77 inches (55 x 196 cm) and is in fine condition but for a long scratch in the upper border, likely where something hit the scroll while it was hung. Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston.

A tripod koro with custom silver lid and rosewood stand by Miura Chikusen II enclosed in a wooden box dated early Autumn 1920 signed by Ume, the mother of the second generation head of the family who died young that year. The white porcelain is roughly 15 cm (6 inches) tall on the stand, 10 cm (4 inches) diameter. This type of Sinophile work was very popular throughout the Meiji and Taisho periods, and Sencha steeped tea had a profound impact on Japanese culture at the time. For more on that see the book ‘Tea of the Sages: The Art of Sencha’ by Patricia Graham (1998).
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.

The richest blue bamboo rises majestically against the bright yellow ground of this exceptional vessel by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Kiyu Seika Takenozu Kabin (Vase with Blue Bamboo Design on Yellow Ground). It is 33 cm tall (12-1/2 inches) tall, 23 cm (9 inches) diameter and in excellent condition, signed on the base.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A very unusual pale yellow-green (kiji) porcelain vase in the shape of a Chinese Gu by Seiji Celadon master Suwa Sozan enclosed in the original signed wooden box. Fretwork and a roiling dragon body have been softly engraved into the sides; the slightest variation in tone the only hint to the subtle design-work. The vase is 11-1/2 inches (29 cm) tall, 6 inches (15 cm) diameter and in fine condition. Sozan (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others. General consensus seems to be this is the work of Sozan II, but likely by subject matter while still under the watchful eye of her father.

A very unusual unglazed small tea pot decorated with various nuts and seeds all in three dimensional relief, featuring a mushroom shaped lid dating from the later 19th to early 20th century. Known as Banko in Japan, the kilns which produced these items were also responsible for the Sumidagawa pottery so popular in the west. This piece has 8 seeds about the shoulder, including peanut, pumpkin and sunflower. The spout is in the shape of traditional Japanese sweets rolled in a leaf, and the body rests on six legs, one of which is a lotus pod with 7 individual seeds mobile inside. It is stamped inside the lid by the maker and measures 4-1/4 inches (11 cm) tall. It appears to have a very old chip in the spout (see photos), and the inside edge of the lid is rough.

A very fine early 20th century screen hand-painted simply and exquisitely with the mixing branches of a blossoming cherry and both fresh green and red maple. The painstaking detail in each individual leaf and flower is breathtaking. The awesome scene is triple bordered inside a frame of green brocade, red and black silk and gold. We have had the screen re-backed with original style forest green paper and replaced the black wooden frame. It measures 31-1/2 by 66-1/2 inches (80 by 169 cm).

A fox sits wrapped up like the Daruma, a humorous image by long time head priest of Kenninji Temple Takeda Mokurai (1854-1930) in light ink on paper. The scroll has been fully remounted in dark forest border extended with beige and features black lacquered wooden rollers. It is 18 by 47-1/2 inches (45.5 x 120.5 cm) and in excellent condition. Mokurai began his training as a priest at the age of 7. Developing under a number of masters, he finally settled under Yuzen. During his younger years he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, and in later days, his scholar script was highly prized. As a scholar priest and head of Kyotos Kenninji, he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

A very rare Japanese Ballot Box of hinoki wood bound in decorative iron dating from the later 19th to early 20th century. This year the ballot is on everyone’s mind, and this is an exceptional example of both traditional Japanese decoration and cabinetry. It has locks on both sides of the lid, which can be removed to reveal an inner lid with hinged iron cover over a slot for dropping in the ballots. This inner lid as well is locked. Keys included, it is 35.5 x 21 x 27 cm (14 x 8 x 10-1/2 inches), in excellent condition and comes enclosed in a protective outer wood storage box. The prewar image of Japan as a democracy has been stained by the era of expansion, however a look into the democratic and labor movements of the Taisho era, known as “Taisho Democracy” will show that the same forces vied for power in Japan as vied for domination elsewhere during that time. The Japanese version of Democracy verses the anti-establishment, Universal Suffrage, Women’s Rights, Anarchists, Socialism, Communism, labor movements against the Zaibatsu, the push and pull of independence movements, the embracing of western philosophy and derision of Western empires in Asia (who it may be said treated their colonies no better than the Japanese did), Imperialists, Militarists, Conscientious objectors, Sinophiles, the Mingei movement, Arts and Crafts and those wishing to regain contact with nature in the vein of William Morris…all played their part in the social lattice of that tumultuous era. Interestingly, according to Ken Lonsinger: In 1861 the Arts and Crafts Movement got its biggest boost when Morris founded Morris, Marshall, Faulkner and Co., a furniture, design and decorative accessories company that stressed time-honored craftsmanship and natural materials. The timing was perfect for in 1862 the London International Exhibition showcased never-before-seen Japanese arts and Crafts, which had an immediate effect on design. England quickly became enamored with this new look and began shedding the layers of Victorian clutter from its homes. Also in the arts, much has been written about Japanese influence on the birth of impressionism and Art Nouveau, and will likely become more clear over time the Japanese influence on Art Deco, the Art-glass movement, the Beatnick culture, Minimalism, Bauhaus and other architectural trends of the 20th century. An article by Helena Capkova for Bauhaus insists: The impact of the Bauhaus teaching methods reached far beyond Germany. Conversely, throughout its existence, a Japanese sensibility permeated the Bauhaus, springing from the Japonisme of individual professors, until its closure in 1933.
That is a lot said about a ballot box, but perhaps a stimulus in these times of self isolation to expanding understanding of the true internationalization of art as influenced by various cultures over time. After all, no man is an Island unto himself.

A dragon wraps around the trumpeting form of this brilliant yellow vase by Makuzu Kozan II (Hanzan) enclosed in the original signed wooden box. A vibrant contrast between the yellow and blue is enhanced by the artists care and minute detail. The vase is 8-1/2 inches (21 cm) tall, 6-1/4 inches (16 cm) diameter and in perfect condition. The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both, as in the case of this piece, which is stamped Makuzu with the box signed Kozan. The first son, Hanzan, succeeded as head of the kiln in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A set of five Porcelain Tea Cups decorated by 5 individual artists from the early 20th century; Tomioka Tessai, Tajika Chikuson, Kamisaka Sekka, Imao Keinen and another as yet unidentfied artist, stamped on the base by the kiln. Each cup is uniquely hand painted by the artist; all stamped on the base by the potter, and come enclosed in a quality custom-made period wooden box. Each is roughly 2 inches (5 cm) tall, 2-1/2 inches (6 cm) diameter and all are in fine condition. A similar set by these artists can be found in the Honolulu Museum of Art.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveao and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938.
Tomioka Tessai (1837-1924) was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…
Imao Keinen (1845-1924) was born in Kyoto, and initially schooled in the Ukiyoe style before becoming a pupil of Suzuki Hyakunen, from whom he received his name. Master of many styles, he was a member of the Imperial Art Committee and Imperial Art Academy, and served as Juror for the Bunten as well as teaching at the Kyoto School of painting. A very influential painter known for his detailed Kacho-ga. He is held in the collections of the Ashmolean, Metropolitan Museum NY and Museum of Fine Arts, Boston among others.
Tajika Chikuson (Also Tachika, 1864-1922) was born in Takeda (modern Oita) and initially studied painting with Fuchino Keisen before moving to Kyoto where he apprenticed under another Kyushu born Nanga artist Tanomura Chokunyu, placing him in the direct lineage of the great 19th century literatus Chikuden. Along with Ikeda Keisen and Yamada Kaido, he helped to establish the Nihon Nanga-In. He was repeatedly awarded at the Bunten National Exhibition, and left a lasting impression on the world of Japanese Nanga with his many students.
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Perfectly formed characters eschew the virtues of the scholar life and way of tea through the Gyokusen Chaka (Song of Tea) decorating this masterpiece of calligraphy and design by Miura Chikusen enclosed in the original signed wooden box. Books have been written upon the subject of this poem centering on the experience of a Tang dynasty recluse reaching Daoist enlightenment through the drinking of seven cups of tea. The bowl is 17 cm (7 inches) diameter, 10 cm (4 inches) tall and in fine condition.
The Tang dynasty poet Lú Tóng, wrote " Thanks to Mèng Jiànyì for Sending New Tea." Which has come to be simply called The Tea Song (of Yuchuan). Much too long to offer fully here, I offer the first few lines (A full translation will be provided):
The sun already high in the sky,
An envoy wrapping on the door called me from sleep.
The imperial censor Meng had sent a letter,
wrapped in white silk with three seals.
Inside, it was as if I could see the face of Meng
In the 300 blocks of "round moon" tea…
Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The kiln continues, currently under the management of the fifth generation.

A cormorant cries out to the sea on the lid of this fantastic suzuri bako writing box enclosed in a red lacquered kiri-wood box. Inside the birds mate looks up from among gold flecked lotus leaves growing wild along the waters edge. The box contains the original tray with stone, the edges of which are flecked with gold. It is in excellent condition but for on ding to the inside of the base, lower left, and one in roughly the same position on the lid. A silk wrap and satin pillow protect the box both inside and out. Repair to both small nicks will be inclusive in this price.

A spectacular set of bira-bira-kanzashi hair pins in the form of cranes among blossoming plum and pine formed of silver which come enclosed in a custom made silk-lined wooden box. Two are 13 inches (33 cm) long, the other is 9 inches (23 cm) long and all are in fine condition. According to a label inside the box they are from Akita City in Northern Japan, sold by Takeyaso Hon-ten. The box is 15 x 17 x 5 inches (38 x 43 x 13 cm). I do have more images if someone is interested.

A large basin in striking cobalt designs by Miyagawa (Makuzu) Kozan enclosed in an unsigned wooden box. The central figure is a soaring phoenix spiral n elaborate plumage surrounded by clam shaped scallops in which leaping carp vie for the prize. About the rim 3 dragons battle for the flaming pearl. Outside serpentine vines intertwine about voluptuous flowers over phoenix. All together a sumptuous and royal aura. It is roughly 32 cm (12-1/2 inches) diameter and in excellent condition. A similar work is published in the catalog of the Miyagwa Kozan Makuzu Museum: Makuzu Ware (Yamamoto, 2010) pgs. 178-179 And an identical work is published in : Yokohama Makuzu Yaki Miyagawa Kozan Ten (1986) figure 66 as well as Miyagawa Kozan and the World of Makuzu Ware (2001) p. 138.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A superb 19th century hanging moon Vase of caramel bronze gilded inside entrrely with gold and enclosed in a custom kiri-wood period box titled Kara-kin Gekkei Hanaire (gilded Chinese-Bronze Vase). In this case the word Chinese does not indicate it being manufactured in China, but using a mixture of bronze based on Chinese origins. It is quite large at 14 inches (36 cm) diameter and comes with the original chain and insert for hanging and display of flowers. Although I do see this shape often enough, this quality is rarely if ever found. The box is a bit worse for wear from the last century or more of use, but the piece inside is fine.

The largest vase I have ever seen for sale by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Seika Sansui taki-ho-ga Kabin (Blue and White Vase decorated with waterfall Mountain Scene). It is 54 cm (21 inches) tall 36 cm (14 inches9 diameter and in excellent condition, signed on the base.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A full 7 piece Steeped Tea Sencha Tea Set by Kiyomizu Rokubei enclosed in the original age darkened wooden box titled Seika Sansui Chaki. There are five cups, a teapot with lid, and a cooling dish. Each piece is decorated with a unique scene and poem, no two are alike. They show the mastery of brushwork this important potter, originally trained as a painter, possessed. The cups are 8 cm (3-1/4 inches) diameter and all is in excellent condition.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A Karatsu style shuhai sake cup with cream glaze decorated inside and out by the Zen Priest Nakahara Nantenbo, a priest who was instrumental in reviving the Zen tradition in the beginning of the 20th century. Circling the circumference is a seven character inscription, the first six reading Kaisei Fugetsu O Kan, the last we have not been able to read. Written inside is an image of the priests infamous staff from which he derived his name, and in large characters NANTENBO, written by a 65 Year Old Man Toju (rokujugo okina Toju). Toju was his official Zen name, but his wild nature and propensity for using his long staff earned him the name Nantenbo. The central character Ten (heavens) has been playfully abbreviated to a single line pointing up like an arrow. The priests name-sake staff was cut from a 200 year old Nandina tree the priest found in a garden. After beseeching the owner he was allowed to cut down the tree and fashion it into his walking staff. The Nandina in Japanese is Nanten, and a walking stick is called a Bo, thus the name Nantenbo. It is known Nantenbo, like many priests of his time, was fond of Sake, Japanese rice wine. The piece is 1-5/8 inches (4.3 cm) tall, 2-1/2 inches (6.5 cm) diameter; slightly large for a sake cup of the time. It is in perfect condition but for a small old chip in the Mikatsuki kodai (foot). We could say this piece is very rare; in fact I have never seen nor heard of another. It was purchased in Kobe, home of Kaiseiji, the long time residence of this notorious priest. It comes enclosed in a custom kiri-wood box.

An unusually large vase by Seifu Yohei III with carved cloud designs covered in mottled red flambe glaze. The box is titled Dawn-cloud-glazed Vase, Made by the former Seizan (alternate name used by Seifu III) dated Late in the Year of the Earth-Horse in the Taisho era (1918), attested to by the 4th generation Seifu. He has employed the Teishitsu Gigei-in seal of the third generation on the lid. There is a large, broad repair to the foot in colored lacquer, so it is likely the vase was never offered for sale, but perhaps given to someone or held in the family collection. The expanse of the repair to the base indicates the running glaze likely adhered to the kiln floor or tiles and broke when being removed. Seifu III was known to have made few large works, so this is a very important piece. It is signed on the base Dai-Nippon Seifu Zo. It is 29 cm (11-1/2 inches) diameter, 41 cm (16 inches) tall.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei II and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A pair of red and silver iron lotus flowers with long handles serving as Buddhist candle-stands, the light rising from within the sacred flower. Overall raw iron, the coloration of the flower petals is from silver and red lacquer. Each is 26.5 cm (10-1/2 inches) long and in excellent condition.